زیبایی آواز و دستگاه موسیقی اشعار عاشورایی یزد در قالب نوحه

رویداد عاشورا در شکل‌گیری و تحول بعضی از الحان و انواع دستگاه‌ موسیقی بسیار تاثیرگذار بوده است. در این جستار با هدف کشف زیبایی موسیقی نوحه‌های شهر یزد به شیوۀ توصیفی، تحلیلی و استشهادی، ویژگی‌های آهنگی، آوازی اشعار عاشورایی در شکل نوحه و تاثیر آن در دستگاه موسیقایی بررسی می‌شود. آهنگ‌سازِ نوحه باتوجه به قواعد علمیِ شناخته شده، تم مرکزی و محوری را مبنا قرار می‌دهد و براساس آن، تم‌های مشابهی را می‌سازد و شعر را به اندازه لازم گسترش می‌دهد. نغمه‌های دیگر این اشعار همچون موزاییک‌های یک سالن سنگ فرش شده، در کنار تم‌ها چیده‌ می‌شوند. در هنگام خواندن و اجرای اشعار عاشورای حسینی، نوحه‌خوان با تغییر لحن، چنان تغییرات صوتی آشکاری پدید می‌آورد که با هر تغییر لحن و مایه‌ و با کمک فن تغییر گام به مرحله دیگری می‌رود. اینجاست که لحن و زبان موسیقی به کمک اشعار نوحه و تناسب محتوا با موسیقی، به توصیف این حادثۀ غمبار می‌پردازد. حاصل آنکه در شعر و نوحۀ عاشورایی یزد، وجود چندضربی بودن نوحه‌ها، تلفیق و پیوند شعر با اصالت و شیوایی ملودی‌های آهنگ، ارائۀ نوعی موسیقی خاص با عنوان «بیات یزد»، بهره‌گیری از پرش‌های موسیقی و همچنین ملودی دست اول از شاخصه‌های شعر نوحۀ این دیار است.

Characteristics of Vocal pieces of Music in the Yazdian Lamentation poetry for Ashura

Abstract The Ashura event influenced the composition of some of the melodies and types of music. In this article, the beauty of Yazd’s lamentation, vocal music of Ashura poems, and their effects on the musical system are the subject of study. The composer establishes the theme and then makes similar themes to expand the poem. While reciting the poems on Hosseini Ashura, the singer progresses with the change of tone and modulation. As a result, in Yazd’s Ashura poetry and lamentation, the combination of poetry with the style of song melodies, the presentation of a specific type of music called &Bayat Yazd&, the use of musical jumps, and also new melodic styles are some of the characteristics of this kind of poetry. Poetry is the music of words and phrases; this is even more important in the lamentation poem because, in addition to the proportion of meter and content, it also requires the function of a music type. The music of Ashura’s poems affects the word and the meter in the same way. Yazd’s Ashura poems have developed in terms of the appropriate meter, theme, style, language, and music. Sometimes, according to the music and melody, the meter, form, and rhymes could be modified. All of these modifications depend on the poet’s sense and experience. When he opens his mouth, he reveals his hidden meaning with his melody. If the beats create a melodic style, it is called the rhythm of the music, and if the beats represent how the words flow, it is called poetry. Singing is a subdevice. The vocal lines add a specific beauty in performing the lament. In expressing and reciting Yazd’s lamentations, knowing the beat and method of breaststroke from one, three, five, or seven, and sometimes a mixture of beats is necessary. Combining different types of external music with semantic and internal music creates a new atmosphere in lamentation. The main variation of lamenting is the addition of frequent or nonrepetitive sections. Poets who want to take the path of Ashura should first comprehend the song’s spirit and the secrets behind it because not every poem is suitable for every kind of singing. The secret of Yazd’s Ashura lamentation and poetry is the novelty of the theme, the combination, and connection of the poem with the melodies, which includes the events of Karbala and recounting the emotional, moral, and cultural needs of the people of their time. But before composing a poem, the composer should consider the extent of the singer’s voice, performance, and the way he expresses himself because each singer’s voice has characteristics that if the composer does not consider such features, his song could not be so heartwarming and impressive. The Ashura poet can connect the geometric composition of the word with the music. He familiarizes the strings of each song with the texture of each word in creating an AshuraHosseini poem. In Ashura poems, melodies or selected musical sentences and meters, in addition to beauty, reveal the content of speech and express the tragic event of Ashura and the desert of Karbala. The role of music and sound in the poems of lamentation is theological. The music of the lyrics complete and promote the art of lamentation rituals and keep alive the Ashura culture.